Grateful Dead Live at Warfield Theater on 1980-10-14
- Live concert
- Grateful Dead
- DeadLists Project
Set 1 and encores: unknown audience> ?> CDR> EAC> SHN; Sets 2,3: SBD> MR> DAT> CDR> EAC> SHN; via Tony Gardner, with thanks to Paul Bottiglio, Mario Mancilla; update to Tony's previous shn set, his comments: "I found another source for the acoustic set and called it disc 0. encores are added on disc 3. I cut about two minutes of silence from the end of disc 1 and 2, no other changes"; see info file for more comments
- Set 1 and encores: unknown audience> ?> CDR> EAC> SHN; Sets 2,3: SBD> MR> DAT> CDR> EAC> SHN
- San Francisco, CA
- Taped by
- Transferred by
- Warfield Theater
Subject: It changed for me on this night
Subject: Great set list, average playing
The first set was pretty boring in my opinion. It seems as if they’re playing on autopilot. The ending sequence is pretty awesome though, definitely worth a listen.
The second set gets better. I thought the scarlet fire was lackluster, it just seemed uninspired. The Estimated and Terrapin are both good, but nothing amazing. I really enjoyed the Playin though. Everything that follows Drums Space is good, again nothing amazing but still solid Dead.
All in all, this is a good show for 1980 and you should at least check out the second set for sure.
Subject: Famous champagne show
This is the final of the 15 San Fran shows (15th of the 25 Fall '80 monster shows in San Fran>New Orleans>NYC). It's also in the top 5 of these shows. I'm surprised there are complaints about these runs; they seem to be of two types:
*They repeated too many songs
*The format was too different
Yes, if you did 15 shows in a row, then you got beaucoup repeats. Try 15 shows in, say '68 or '72. The format was intentionally different. The band wanted some style agitation and thought it would be fun to have an intimate setting, fomenting tighter songs. It wasn't an Arista aquiescence. One of the working ideas was a 15-year mark, special reward for the fans.
First Set. Like many of this run, the acoustic set surpasses even '70 acoustic sets. Outta the gate, Dire Wolf & Dark Hollow are A+ versions. The rest is consistent; above average for the Warfield shows, a specialness in the air.
Second Set. Decent start but really heats up from Friend of the Devil all the way through Little Red Rooster - particularly M&MU and a great Candyman. Then it hits outright X-factor with Let it Grow>Wheel>Music Never Stopped (the latter uptempo and sparkly). These just might be their best examples from the tour.
Third Set. Still on top of it - one of the best of '80. Unlike the second set, which keeps getting better, the 3rd is like the 1st set - best right out of the gate (well, really at Fire), but above average throughout. The jam into Terrapin and the first Playin' jam are worth the penny. Then Graham served champagne to the entire audience so they could toast the boys.
1st set: B-
2nd set: A-
3rd set: B+
Overall = 4¼ stars
Dire Wolf - Very warmed up on this one at this point
Dark Hollow - many good examples from the shows
Little Red Rooster - '80 was a good year in general for Roosty
Let it Grow>The Wheel>The Music Never Stopped - wish the whole sequence was officially released
Fire on the Mountain - Scarlet's not bad but the Fire is nice
Estimated Prophet - strong
U.S. Blues>Brokedown Palace - great care taken to not throwaway the encores
SOURCES: Four of the acoustic songs are on Reckoning, (China Doll, All Around this World) however Bird Song has a 37sec edit right before the solo, and Cassidy has 1:06 removed from the solo @3:54. Music Never Stopped is on So Many Roads. Use the Stanley/Blackwood source for the first two acoustic songs. The rest of the 1st set (+ Alabama) is best on the Ellner/Marino(GMB) source. The best SBD souce for the electric sets is currently Gardner3576 (albeit needing NR in places). The current matrix is echoey, thumpy & more AUD than SBD. You have to go back to the AUDs though, for the double encore. In the 2nd set, sound improves again @Little Red Rooster (which has a beginning cut).
CAVEAT: They're not all 5 stars just 'cause we love the band. The Dead played over 2,300 shows; on a bell curve a hundred might be 1-star and maybe 100 are 5-star shows. Shows were awesome. You were life-happy by the time you and thousands of your new buddies skipped and floated out into Shakedown Street. Highlight moments forced you to either reel your mind back or just snip the tether - and cosmic moments didn't occur only inside the show. But that happened even at what are objectively 1-star shows. If you rate every show 5-stars but have no idea what constitutes a 2-star show, it renders the rating system untenable and nobody believes your reviews.
Bucky, these were full, two-electric-set shows. They just had a bonus acoustic set first, and took place in an upscale, downtown vaudeville theater (this was before the seats were removed; you've seen both the run poster and the famed champagne-toast pic) next door to the Crazy Horse. Shit, this one's 35 songs and lasted over 4 hours! That's wasteful?
Glen, plus-one on your story 'cause it put me at the shows. I watched pretty blue-gold skirted spinners in the lobby, whiffed patchouli, weaved tracers in time with my hands aloft & smeared onto the grouphead dynamic. The Cosmic Wimpout story is funny. Truthiness: people did that at runs all through the 80s, too.
Subject: end of music
The aud stuff on here - acoustic set and encores, aren't interesting to me at all when those recordings of 10/11's acoustic sets exist here on the acrives in such pristine, pin-drop sbd quality - if you cobbled that acoustic set together with this electric one, you'd have a pretty damned awesome 4 hours of music.
As for these electric sets, let's call a spade a spade: the band was trying to play good enough for an album to be cut, and it shows. What's genuinely strange is realizing how absolutely snare-drum tight the band could play when they wanted - it's a choice. Assuredly they practiced and rehearsed, maybe relearned some of the lyrics (Jerry misses not a one), and learned how to use some of that almost studio-style negative space within the song (check Candyman, Rooster, FOTD).
I find this first set makes me impossibly giddy - I could listen to them go through all this over and over. 2nd set is adequate, but their style is ***too*** controlled here to allow for the boat-has-left-the-wharf freewheeling to commence - they end jams quite abruptly and it's all been done better. Still, the sound quality and that ever-present *purposeful* perfectionism will keep you tuned in. And where does that Phil Stomp feedback-madness come from, right when the drums take over?!? That little bit almost harkens back to some of that crazy Dec '73 stuff they were into.
There are numerous holes in this board. I would go for a matrix in this case, but don't like the way this one sounds in matrix form. The first couple minutes of Rooster, Playin', and a couple more here and there could use a patch or two.
Subject: A Few misconceptions
I agree with most of what you're saying about the recording of the live albums, but for 'Franklins being pulled out of Help/Slipknot'. This occurred not in 1980 for these albums, but way back in 1977 when the Dead stopped playing this suite of music for 6 years and simply played Franklins solo. It had nothing to do with cutting the music down to size.
While everybody seems to get 'excited' over these acoustic runs, the fact is, aside from being the base for breaking out some great material that had been shelved for years like China Doll, To Lay Me Down & Birdsong, the electric magic & musical peak the band was at coming off the recently completed summer tour~! and immediately returned to in Florida & the Fox Theatre over Thanksgiving & Long Beach several weeks later can only leave one imagining what 24 shows of electric musical adventure (as Phil would call it) would have been like at The Grateful Dead's peak of playing from 1977 to 1989. Instead, it was wasted on acoustic ditties. What a shame.
Subject: Let It Grow>Wheel>Music
Subject: Reality and rant
They had signed with Arista in 77 and had not had much commercial success with Terrapin and Shakedown. So when Go to Heaven had some real success, Arista was pressuring the Dead to come through with some Live material for the next ones because they wanted to capitalize on the success of GTH.
They decided to do 2 releases acoustic and electric. The concept was great but when the Dead are trying to produce magic and not letting the free form flow it makes for a watered down experience. As they always said "we always blow it on the big stuff". The spontaneous nature was kind of scrapped for the more studio-like live experience.
Franklin was pulled out of the Help, Slipknot trio in an effort to commercialize it. Alabama, Althea, Lost and Saint were done constantly to provide listeners with live versions of the last studio album GTH. Just to site a few examples.
They have long admitted that trying this formula really didn't work almost alienating the live Head show goers in return for a broader appeal.
But the older I get listening to them now in 2007, I realized I had never given these shows much of a chance when I was much younger knowing the facts as I laid out for you here.
But you know what? These shows have really grown on me and actually are quite good if you just try and judge it on the finished product and realize the pressure they were under to make this work. They were re-inventing themselves again in 80 with a new keyboard sound and new vocalist in Brent and they didn't have time for him to learn all the older catalog until later.
I could go on and on and I have been doing this Dead thing since 1969 in Philly. My peers are always asking me when I will grow up and out of this Dead thing. HA! Let's hope that doesn't happen and that this community will continue to press on with catalogs and forums such as this. I love every minute of it!
I'm not trying to act like a know-it-all about this stuff, it's just that I lived it. I reference all historic shit in my life with tours and Dead memories. The hostage crisis in Iran, I was first row in Philly on 11/5/79 when I heard the news. I only attended Rosh Hashanah and Yom Kipper holidays if the Dead were not playing on those nights. It got to the point where my family knew if the Dead were less than 4 hours away on those days I would not be coming. Shit like that. I'm sure there are plenty of you out there who know exactly what I mean.
Subject: Learn Ye These Lessons:
Learn Ye These Lessons:
1. Set lists lie. (How many times have you heard an incredible show that had a boring set list, and vice-versa? Right!)
2. Tapes lie. (How many times have you been to an incredible show and then heard a tape of it that just doesn't tell the story, and vice-versa. Right, right!)
I was at the Warfield in '80 (I think I missed just one or two from the entire Warfield run).
Some random notes:
These were funny shows. I mean, the good news is that the Warfield is a small hall (especially compared to the hockey rinks and arenas the band had started to play) and the acoustic sets were a genuine treat. Even got to be an usher one night, although I can't remember exactly how that came about.
I think the bad news here (such as it is...) is that the hard-core deadheads (which at the time included me...) were trying to see every single show. (In spite of a lot of wacky passive-aggressive nonsense from the heads at the time: "Oh, you got in to tonight's show? I didn't get in -- I stood outside in the rain all night -- but I'm so happy that YOU were inside! If i had gotten a ticket, I would have given it to you.")
ANYWAY... the downside here (besides the challenge of actually trying to get in every night) is that the hard-core was waiting for magic every night, and my own opinion is that the Dead were looking more for the feeling of your local bar band -- you don't go every night; you drop in when you can for a relaxed time.
Because the theater is so nice, they were VERY strict on behavior -- no dancing in the aisles or seats. Bill Graham (bless his heart...) DID put up speakers in the hallways so we could dance AND hear, but that's always a funny choice -- there you are, standing in the light by the refreshment stand, dancing to the music coming out of some nice but tiny speakers while inside the real magic is taking place.
In addition they were making an album of this (Dead Set) and while it could certainly be my imagination, it sure FELT like they were working on a album -- the set list from night to night was very similar, and I couldn't help but feel when the umpteenth version of Terrapin or I Need A Miracle was played that it was basically, "OK, roll the tape -- take 7!"
On this, the last night of the Warfield run, the hardcore was expecting SERIOUS mojo (read: Dark Star or St. Stephen or...). One of the long-suffering tour-heads (Keith?) was wandering around with a handful of stickers from the old board game Cosmic Wimpout. "They better not wimpout tonight!" Sure enough, when the band started to play U.S. Blues he slowly started to peel the stickers off the roll and place them on the linen-covered walls before security grabbed him.
(I also seem to remember Bill Graham throwing two of the regular doseheads out of the show one night for fucking on the main staircase during the show! Luciano tried to stop him: "C'mon Bill -- she's fucked-up and he's just fucked!" but Bill was unswayed. "So? What am I supposed to do -- give them a medal?")
Even crazier, one or two people decided to skip this show entirely so they could start hitchhiking to New Orleans (two nights later) on the theory that it would be the first show the Dead had played in New Orleans since they were busted there years ago. ("Busted! Down in New Orleans! Set up...") and New Orleans would be THE show. (Skip a show so you can catch a show? Always a dubious strategy...)
One of my best memories of this run is how hard Bill Graham and company worked to make it special for everyone, including having a different message on the theater's marquee on most nights, so as you were walking out you would see something such as,
IF I KNEW THE WAY
I WOULD TAKE YOU HOME
All this wrapped around my odd efforts to be an '80s hippie/street person, before realizing that while I still loved the shows and would continue to go until the end, the space-doggie lifestyle was just not for me.
Subject: Most WORTHLESS review yet!!!!
This show is SOOOO GREAT!!!! The LIG>Wheel>Music Never Stopped is a real treat!!!! But come on, over 30 tunes in 1 night. Good night Irene!! Thanks for the effort on that one Good Ol' Grateful Dead!! For those looking for more jam--34 songs--think about it, THIS SHOW IS A MARATHON!! NOT A FIFTY YARD DASH!! SAVOR IT!!
Scarlet>Fire is jamming right now.. GRRRRR, BABY!
Subject: no jam???
Subject: Forgot , to jam?
Subject: Grate List
Subject: Solid 4
Subject: most excellent
Subject: The play 35 songs
Subject: Incredible time, incredible show
Subject: Dead Set/Reckoning
Subject: Maine bound
Subject: Don't Pass This Up
The Estimated>Terrapin is sick...
Subject: HOLY MOLY!!!!!!!
Subject: Gets better as it picks up steam
Subject: This was a magical night
Subject: never mind
This show let me down though. It seems like they are kind of on autopilot until they hit morning dew, which is pretty great. Is it me?? I've listened to the entire show a couple of times, this board sounds great, I'm just not hearing a ripping show here. It's not bad, I'll give it a 4 for the ridiculous setlist.
Is this the show where everyone toasts the band at the end of the show? Sounds like it from the Bob & Jer comments before US Blues (which is dang decent AUD - maybe someone could post the entire electric set in this format???)
Subject: 5 Stars
Subject: Five Skulls for 10-14-80 Electric Set
For the acoustic sets, I went from 10-2 to 10-13 and pieced together a Reckoning companion as well. You also can find some good shows in Radio City, NY for this time period but this Warfield show stands above those that are available here,IMHO.
I also recommend 5-16 from Nassau for another killer Dew and try out Oakland's 12-28 NYE warmup show.
Subject: Rare DEW!
Thsi DEW is very rare. It was the last and 4rth of 1980 and the first sicne 11.8.79- the only of 1979. The previous to that was 4.15.78. So thsi was the 6th DEW in over 3 years.
This version is very kind.. see for your self.
Also, love that scarlert fire. The jam is soo spacey and long. It justw hat I was looking for.
Check out 11.8.79./ You will se that the NFA>DEW is the best quality ever! And the first dew in 19 months.
This show gets 4 stars.
One minor quibble: This must have been tracked for 74 minute discs. The last two songs of the first electric set are tracked for the start of disc 3. So even though the whole first set will fit on an 80 minute disc, there is a tiny gap between the end of 'Let it Grow' and the beginning of 'The Wheel'. Nothing earth-shattering, but it is somewhat distracting and a little annoying.
Other than that, this is a great addition to the archive.